In 2018, Victor Kossakovsky set out to shoot Aquarela, a survey-symphony that took the Russian documentarian around the world to capture glaciers, waterfalls, ...
An aspiring twenty-something writer with a couple of poems in The Paris Review, Joanna’s just landed a gig at a New York-based literary agency. Working on othe...
The Hangzhou of Zheng Lu Xinyaun’s The Cloud in Her Room is a funereal city, a protean place rife with cranes and construction sites, where new buildings mushr...
Penelope and Dimitris are professional pet cremators. They roam the sprawling periphery of an industrial Greek town, retrieve defunct animals from their owners...
Here’s a film for which the label “low-key” feels particularly misleading, one whose power resides in its simplicity, in its ability to conjure grace out of a ...
Midway through our chat, Andrei Konchalovsky squints at his coffee and takes a brief pause. We’re in the restaurant of a cozy boutique hotel in Tallinn, Estoni...
It seems as though you really have to be a Missolonghi native to appreciate the beauty of that swampy eel-fishing Greek town where the characters of The Miracle...
Deep into Rialto, Peter Mackie Burns’ sophomore feature, shy Dubliner Colm (Tom Vaughn-Lawlor) tosses something of a tagline: “We all hate our dads, it’s just n...
In Valentyn Vasyanovych’s post-apocalyptic Atlantis, the sky above Ukraine hangs like a sheet of steel, a uniform mass of clouds bucketing water onto the mud-co...
In a two-story building down a chronically flooded street, a dozen Filipino women brace for an encroaching departure. They are the domestic workers at the cente...
An Italian-born, UK-raised film critic, Leonardo Goi is an alumnus of the Locarno Critics Academy and Berlinale Talents, where he coordinates the Talent Press. Along with The Film Stage, he writes for MUBI, Senses of Cinema, and Kinoscope. For reviews and reports from the festival circuit, follow him on Twitter at @LeonardoGoi.
